An ex-husband and wife team star in a musical version of 'The Taming of the Shrew'; off-stage, the production is troublesome with ex-lovers' quarrels and a gangster looking for some money owed to them.
Matchmaker Dolly Levi travels to Yonkers to find a partner for "half-a-millionaire" Horace Vandergelder, convincing his niece, his niece's intended, and his two clerks to travel to New York City along the way.
In the Oklahoma territory at the turn of the twentieth century, two young cowboys vie with a violent ranch hand and a traveling peddler for the hearts of the women they love. Written by
Scott Lane <email@example.com>
The train in the movie is The Southern Pacific Railroad locomotive 1673. It ran in Southern Arizona from 1900-1955. It is currently on display at the Tucson Historic Train Depot in downtown Tucson. See more »
When Laurie walks into her house when the crowd arrives before going to the Skidmore party, she hears the two girls talking about Curley. One girl's hair is in a long ponytail. The camera pans around the room, and when it goes back to Laurie and the two girls, the girl's hair is no longer in a ponytail. See more »
There's a bright golden haze on the meadow, There's a bright golden haze on the meadow. The corn is as high as a elephant's eye, And it looks like it's climbin' clear up to the sky. Oh, what a beautiful mornin', Oh, what a beautiful day! I got a beautiful feelin' Everything's goin' my way.
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After seeing OKLAHOMA! on the screen in Todd-AO for the first time 44 years ago, it immediately became my all-time favorite film. Today, it still holds that lofty ranking.
The beautiful Rodgers & Hammerstein score includes some of the greatest music ever written. The two collaborated on nine broadway musicals, many of which were adapted to the screen, notably CAROUSEL, SOUTH PACIFIC, THE KING AND I, and THE SOUND OF MUSIC, but OKLAHOMA! tops them all.
Gordon MacRae and Shirley Jones are perfectly cast as the young couple experiencing the magic of first love, and their singing of some of the show's classic tunes, such as "Surry With the Fringe On Top" and "People Will Say We're In Love" is a pleasure to listen to.
Miss Jones, making her screen debut as Laurie Williams, instantly establishes her image of the "girl next door"--did I grow up in the wrong neighborhood? She is captivatingly charming as she tries to make Curly (MacRae) jealous by accepting a date to the box social with her Aunt Eller's hired farmhand, Jud Fry, played menacingly by Rod Steiger.
It is the supporting cast of characters that really bring this musical to life--particularly Aunt Eller, played by Charlotte Greenwood. Doesn't everyone have an Aunt Eller in their life? Then there's Ado Annie Carnes (Gloria Grahame) and her longsuffering boyfriend Will Parker (Gene Nelson), who lights up the screen with a great dance number. Throw in a travelling salesman, Ali Hakim (Eddie Albert); Gertie Cummings (Barbara Lawrence), who tries to steal Curly away from Laurie; and Mr. Carnes (James Whitmore), who insists on a shotgun wedding for his daughter, Ado Annie, rather than see her marry Will; and you have some unforgettable characters indeed.
The film's one dissenting note was the class distinction warfare between the handsome, clean-cut Curly, who everyone knows "Laurie has her cap set fer" and the rough and dirty, working-class Jud. Jud meets his untimely end, but, after all, he is the villain.
Not to fear, it's a happy ending for all. Curly gets Laurie, Will gets Ado Annie, and Ali Hakim gets....Gertie? When Ado Annie and Gertie get into a jealous fight which Will attempts to break up, explaining "I'm trying to keep Ado Annie from killing your wife", Ali Hakim responds, "Why don't you mind your own business?" In the end, the farmer and the cowman do learn to get along and become friends, the new schoolhouse gets built, and the Oklahoma territory is about to become a state.
OKLAHOMA! won two Oscars, for Best Sound Recording and Best Scoring of a Musical Picture. How could they go wrong with great orchestral direction by Robert Russell Bennett and the musical score by Richard Rodgers and Oscar Hammerstein II? The American theatre will never see their equal again.
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